TV 2M

Outside Television Moves Studio Production to New York City
WESTPORT, Conn.–(BUSINESS WIRE)–Outside Television, America’s active lifestyle leader, is relocating its studio in an effort to upgrade its production capabilities as the network expands to build greater national distribution. The new studio, EUE Screen Gems Studios in Midtown Manhattan, is a state-of-the-art facility that will meet and fulfill all of the network’s production needs. The move …
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Outside Television Relocates Studio To New York City
Looking to expand its production capabilities, Outside Television is relocating its studio to Manhattan. The new studio, EUE Screen Gems Studios located in Midtown Manhattan, is a state-of-the-art facility that will fulfill the network’s production needs.
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Lazio’s Claudio Lotito angry over television rights in Italy
Lazio president Claudio Lotito has slammed the distribution of current television revenue in Italy’s Serie A and claims that they should get a better share of the pie.
Read more on Goal.com

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Question by Alicat: What is the difference between film studies and film production studies?
I know that film production is the more vocational aspect of film studies, but what careers do you go into with film studies, and can the two be interchangeable?

Best answer:

Answer by Mie S
They both get the same sort of job at the end – something with the media/ film making. The only difference is what you want to do. The film production studies means that you’ll have a working knowledge of how to edit and produce and what it takes to make a film.

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by Lushbunny

A Good Story Transcends Film Production Costs

If you have a good story to tell there is no reason why you should not make it into an independent film. With the right film production techniques, the right script, the right people working with you and a relatively small amount of money you can make a low budget movie that can compete with the best of them on the festival circuit at places like Cannes, Toronto, Telluride and the Sundance Film Festival. If your story is compelling enough people will forget that the production value is a bit challenged.

There are people all over this world who never gave up on their dreams to make films, despite the difficulties that came with working outside of the mainstream film industry. They are passionate filmmakers who believe that anyone with a compelling story to tell has a right to make a movie. Through their struggles these diehard filmmakers have created cheaper ways to make movies. This revolution was born out of frustration due to decades of having their creative voices shunned by the big film studios who favored commercialism over creativity.

The commercialism associated with the films that are being released by the major Hollywood film studios these days is very frustrating for any filmmaker who considers their work to be art. Nowadays movies are tested extensively beforehand to ensure that the studio committing hundreds of millions of dollars to it will not lose money. This kind of testing tends to narrow the field down to only a few kinds of movies that they will invest in which means there is no room for new ideas. True artists can never be happy when there are constraints imposed on their methods and subject matter.

Although the film industry is a merging of story telling and commerce, the story telling part has always been the most important half of the equation for the audience. The big movie studio executives seem to have forgotten this fact as they continue to produce movies that have more style than substance. People would much rather see a good movie with a low production value than they would a bad movie with a high production value.

Talent and a good storyline are generally worth more to movie audiences than an expensive look. If you can just get a good story committed to film and submitted to film festivals, then people will take notice. If a buzz is created about your movie, it can lead to a distribution deal that is worth many times more than the money you invested.

After you have finished with all phases of the film production process you need to find places that will show your film to the public. There is a thing called the film festival circuit and it is the last bastion of hope for people who want to make independent films. Sure, the celebrities and big studios have recently invaded the larger events like Toronto, Cannes and the Sundance Film Festival, but they still make room for the little guys. Independent filmmakers are still the focus of film festivals no matter how much publicity they receive.

Films like The Blair Witch Project are a perfect example of how a film with a very small budget but a very clever story can make it to the big time.

This very independent film was a big hit at The Sundance Film Festival in the late nineties and it was all because of the storyline. The Film was shot and edited on video and transferred to 16mm film only for the print that was needed for screenings at the festival. The independent filmmakers that made this film only spent about 40,000 dollars to make it and get it ready for Sundance. The production value was very poor but people could not stop talking about how the story ended. It received a lot of publicity and was subsequently sold to a major film studio for one and a half million dollars. The studio made 150 million dollars on the film when they blew it up to 35 millimeter and distributed it to theaters nationwide.

Film festivals are places where the playing field is leveled for all the players in the film industry. It is a strange nexus between people who are hungry to get into the film industry and people who have had too much of it and just want to be a little less full of it. They long for the days when filmmaking was more of an art form and less commercialized. The result is that they embrace independent filmmakers in their raw form. When this happens there is always a chance that one of the little guys could be suddenly held up to the spotlight by the big players and glorified. If this does occur it is always because the storyline of the film created a buzz, not the production value.

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by flyzipper

Production Music

Production music refers to music that is owned by production music libraries.

Generally the music is composed specifically for use in Film, TV, Radio, Multimedia and Business.

Since these libraries generally own all of the rights in the music they can licence it directly without the need to gain permission from composers or writers. It can therefore be licensed immediately with a clear cost to the end user.

The advantage of a production music library is that it can cater to a wide range of musical styles and themes with many libraries holding ten of thousands of music tracks and cuts.

Production music gives producers and directors a platform from which to choose music that is suitable for their project or brief. Libraries often have music relevant to current musical genres, styles, charts and culture. Many libraries will hold music across the entire spectrum of music history and include Classical, Jazz, Blues, Rock n Roll, Dance and Reggae – amongst a host of contemporary collections or themes created for business or media applications.

The convenience factor means that anyone who needs production library music can choose from a huge range of styles, access the music from one place and know exactly how much it will cost. Most libraries have Rate Cards so producers can budget for the costs of a project in advance.

Their is also the peace of mind that many libraries will almost always have a piece of music suitable for the job and if not will help you to find some. Many will also offer custom music production services.

History of Production Music

Typical music for production has been around since the days of silent cinema. In those days the music was supplied in written form and sent over to small orchestras and bands who would perform the music live in time with the film.

Since then many production music companies have built up sound and audio libraries. These include Boozy & Hawkes, Cavendish, Sonoton, Extreme Music, EMI, Sony BMG, KPM, De Wolfe and many others.

Traditionally, music libraries sent out their music collections on CD. These days it is more likely to be accessed via the internet, file-downloading, hard drive or CD’s, CD-Rom, DVD-Rom

Production Music Online

The Internet has enabled music for production to be distributed online via downloading. It has also given a platform for new companies and libraries to set up independently.

There are now many production music libraries online. The quality and price can vary enormously as can the actual license terms or use of the music. However production music downloads now seem to be the preferred method for many media professionals around the world.

Royalty Free Music

Royalty free music varies slightly to the attributes of production music.

Production music has generally been licensed on a pay-per-use basis. That is you pay for every single use of the music – If you want to use music on a TV show then you license the rights for that. If you want to additionally use that music on an interactive CD-Rom then you would have to license those rights.

Royalty free music on the other hand offers customers a way of purchasing a CD of the music which can then be used as many times as you like without any further payments or fees.

However the Internet and other issues has meant that many royalty free music libraries now operate more like traditional production music libraries and vice versa.

This is most likely attributed to the growth of independent music libraries who can create their own license and finance models according to their own marketplace requirements.

Sync Fees and Dub Fees

A Production music company charges a fee for the licensing of their music. This is often referred to a ‘Synchronization Fee’ or ‘Dub Fee’. This is one of the main income streams for music libraries.

Performing Rights Organisations

Performing Rights Organisations (PRO’s) protect, administer and collect performance royalties on behalf of its member composers, artists and publishers.

Performance royalties are generated when music is broadcast on TV or Radio or played in public places like restaurants and other business spaces.

Music that is publically performed or broadcast has to be licensed. For example a broadcaster such as the BBC or SKY has to pay to broadcast music as do restaurants, shops and users of music on hold systems and others.

These licenses are issued by PRO’s to music users whenever music is broadcast to the public. The revenues from these licenses is then collected and split up between all of the members of that particular PRO.

Most countries have their own PRO such as PRS (UK), ASCAP (USA), GEMA (Germany). Many countries have more than one.

See the FULL LIST of Performing Rights Organisations

Music libraries are generally also music publishers. Their musical works are published via a PRO and any broadcast or public performance of that music will accrue performance royalties.

The Beat Suite Music Library

Beatsuite.com is a music library that supplies production music uk to companies all over the world for all kinds of media, broadcast and advertising platforms. The library features over 10,000 music files ready for immediate Preview, Purchase and Download. To get access to production music online visit www.beatsuite.com now

Disclaimer

We have written this article to be as accurate as possible at the time of publishing. This is not a legal document nor is it intended to be anything other than a reference document. For more information please see Wikipedia

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by Xavier Encinas

Question by Mim: How much did polaroid film cost before they stopped production?
As we all know polaroid film is coming to an inevitable end. I finally got a Polaroid 1200si at a flea market recently. I have bought some film for an unimaginable $ 1.50 per exposure. My question is: How much did polaroid film cost before Polaroid decided to discontinue it? Polaroid 600? Spectra Film? Anyone know? I would have liked to know the price from the 2000-2007 era. Thanks!

Best answer:

Answer by heavenboundiwillbe
CHECK OUT THIS WEBSITE FOR ALL THE PRICE LISTINGS.

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A few nice audio images I found:

5.1 Audio Production Suite


Image by S Richards Photography
TSN is the only broadcaster in North America that keeps a true discreet 5.1 audio path from mixer to home viewer.

Audio-Mixer_FBT-DIZZY-E20_23369-480×360


Image by Public Domain Photos
Free Photos – Audio Mixer – FBT DIZZY E20

More photos and details about possible copyright or licensing restrictions here:
public-photo.net/technology/audio-mixer-fbt-dizzy-e20/
Full Size Up to 3072 x 2304 pixels

Information Regarding Copyright: public-photo.net/copyright/

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by e.r.w.i.n.

DC Music opens his new rehearsal, recording and production studio in Toronto

Steps away from the subway, and major highways, you can choose from their MID SIZE ROOMS, PREMIUM ROOMS and THE NEW D.C. MUSIC THEATRE.
Grand Opening Specials for REHEARSAL, SHOWCASE, CD RELEASE, PRIVATE PARTY, ALBUM OR TOUR PRE PRODUCTION, VIDEO OR PHOTO SHOOT, DANCE REHEARSAL, CORP0RATE EVENT OR LECTURE.

Past Clients include: Finger Eleven, Holly Cole, Theory of a Dead Man, Hawksley Workman, New Found Glory, Justin Nozuka,  Crash Parallel, Bayside, Evans Blue, Six Shooter Records, Do Dat Ent., Black Box Rec. Coalition Ent., BLR Ent., Bravo Network, CTV, Underground Operations, MTV Canada, Rocket Face, Vespa Music, Oran Isaacs, Randy Cook, The Artist Life, Keepin 6,  Brown Brigade, Basia Lyjak, Today I Caught The Plague, No Official Capacity, and hundreds more.

D.c. Music offers the best rates for: Large clean acoustically treated rooms, brand new gear, heat/AC, cable TV and media lounge area, showers and more. Excellent creative environment and great friendly service at every jam.
All rooms and gear are very well kept. Tama, Yamaha, Mapex, Premier, D Drum, Sabian, Zyldjian, Messa, Marshall, Crate, Rivera, Peavey, SWR, Trace Eliot, Gallien Krueger, Traynor, Beringer, EV, Elite, Yorkville, Sure and AKG.
Lots of FREE parking available.
SPECIAL DAY RATES AND BLOCKS!!!
Record your jams and get a CD the same day!

D.C. Music’s RECORDING STUDIO is a NEWLY CONSTRUCTED digitally integrated facility that can accommodate any project. Whether its an album, demo or live off the floor pre production, producing, music editing, mixing and mastering, beat production, voice overs (ADR), foley, music for film and television, digital transferring, D.C. Music can take care of it all! They provide you with a wide range of options to suit your budget and purpose for recording. Record your next project for as low as 20 dollars an hour in a clean comfortable environment with experienced producer/engineers and up to date professional gear. Studio musicians and any equipment are available at your disposal.

D.C Music can take any project to the next level. Being Toronto’s only community environment and artist friendly resource center they are able to develop any artist in any aspect of their career…
REHEARSAL AND RECORDING STUDIOS, CONCERTS, ARTIST DEVELOPMENT, ARTIST MANAGEMENT AND LABEL. D.C. Music can give you the guidance and the right tools to get your music exposed. At D.C. Music you can expect the best quality for the best price. For more information visit
www.dcmusic.ca Musician or call 416-234-0222.

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OCC Production Bike

Price: $ 1.99

Channel 6

Price: $ 0.99

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by Vince Millett

Filomena Tobias Liliana is the Future of Music Production

The future of music has arrived and it sounds like Filomena Tobias Liliana. As a talented producer, this young lady has captured the music industry’s attention in Japan and Europe. It is only a matter of time before she claims her well deserved fame in America.
––She studied violin as a girl but her talents took her far afield from her classical training. An experimenter by nature, Filomena Tobias Liliana takes musical composition and mashes it up with R&B, electronica, and native funk.

She originally performed her own songs with a small orchestra beginning in Detroit. She was soon on the road as her restless nature couldn’t be pinned in one place for long. Her first major success broke out in Japan while she was on a USO tour in Okinawa. While the servicemen applauded the band’s performances and Filomena Tobias Liliana’s virtuosity, it was the Japanese locals who caught the show that proclaimed Filomena Tobias Liliana a musical genius. She was invited to play a Tokyo nightclub where she entertained sold out crowds for two straight months.

After that successful run, Ms. Liliana toured Polynesia on a more relaxed schedule. She picked up concert bookings at popular hotels in exchange for room and board and she connected with the gracious citizens of the Pacific. During this whole time, Filomena Tobias Liliana immersed herself in her surroundings and the local culture.

“A switch was flipped inside me,” she reports. “I felt like I was full of music just busting to get out. There are so many sounds and rhythms in this big, wonderful world, that I knew for sure that music is my life. I wowed them in Japan and I was popular in Tahiti so I figured I would take the next step and move to Paris.”

Moving from in front of the microphone to behind the producer’s desk was a smooth transition. In Paris, Filomena Tobias Liliana teamed up with local DJs in the club scene and began remixing Motown hits to the graceful strains of Polynesian melodies. Her classical training enabled her to add a structure and depth to the tracks while the marriage between smoothly flowing love songs and relaxed syncopation proved to be intoxicating to dance floor denizens and radio listeners alike. A trip to Morocco further broadened her musical palette.

Now back in Detroit after having made her mark in other arenas, Filomena Tobias Liliana has started up her own label, Third Trick Records. Her office is located in the Brightmoor neighborhood in a former pet store. She has assembled state of the art equipment and contracted local musicians to help her craft her vision of a truly world-based music headquartered in Detroit. She has landed on fertile ground and has received enthusiastic support not just from the music community but from the city’s politicians as well.

As a seasoned professional, Filomena Tobias Liliana knows she has hard work ahead of her but her excitement is infectious. Local musicians and sound technicians volunteer to help out around the studio and Ms. Liliana is active in directing a youth chorus that she has already incorporated in some of her latest tracks. Filomena Tobias Liliana produced “Gonna Clear My Bed” in 2009 using the youth chorus in the background. This was the number one single on local Detroit radio playlists where it remained for three weeks and became the unofficial anthem of block parties around Detroit.

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The Complete Film Production Handbook, Fourth Edition

This book is for working film/TV professionals and students alike. If you’re a line producer, production manager, production supervisor, assistant director or production coordinator–the book has everything you’ll need (including all the forms, contracts, releases and checklists) to set up and run a production–from finding a production office to turning over delivery elements. Even if you know what you’re doing, you will be thrilled to find everything you need in one place. If you’re not already working in film production, but think you’d like to be, read the book — and then decide. If you choose to pursue this career path, you’ll know what to expect, you’ll be prepared, and you’ll be ten steps ahead of everyone else just starting out.

New topics and information in the fourth edition include:
* Low-budget independent films, including documentaries and shorts
* Information specific to television production and commercials
* The industry’s commitment to go green and how to do it
* Coverage of new travel and shipping regulations
* Updated information on scheduling, budgeting, deal memos, music clearances, communications, digital production, and new forms throughout

* This guide to production management is on every producer’s shelf and will save you time, money, and hassles
* Hundreds of forms, contracts, and checklists available to print and use on your production
* New edition is fully updated with information about low-budget productions and much more!Product Description
This book is for working film/TV professionals and students alike. If you’re a line producer, production manager, production supervisor, assistant director or production coordinator–the book has everything you’ll need (including all the forms, contracts, releases and checklists) to set up and run a production–from finding a production office to turning over delivery elements. Even if you know what you’re doing, you will be thrilled to find everything you need in one place. If you’re not already working in film production, but think you’d like to be, read the book–and then decide. If you choose to pursue this career path, you’ll know what to expect, you’ll be prepared, and you’ll be ten steps ahead of everyone else just starting out.

New topics and information in the fourth edition include:
* Low-budget independent films, including documentaries and shorts
* Information specific to television production and commercials
* The industry’s commitment to go green and how to do it
* Coverage of new travel and shipping regulations
* Updated information on scheduling, budgeting, deal memos, music clearances, communications, digital production, and new forms throughout
* This guide to production management is on every producer’s shelf and will save you time, money, and hassles
* Hundreds of forms, contracts, and checklists available to print and use on your production
* New edition is fully updated with information about low-budget productions and much more!

Amazon Exclusive: A Letter from Eve Honthaner, Author of The Complete Film Production Handbook

Dear Amazon Readers,

This book, now in its fourth edition, has been an amazing journey. It’s continued to evolve and improve as my career has expanded and the industry has changed in ways I couldn’t even imagine when it first came out. Because our business has become more specialized, what started as a collection of material that encompassed the scope of my experience has come to include incredibly valuable information on various facets of the industry. I couldn’t share this with you without the help of several colleagues, friends and friends of friends who generously contributed their expertise to this and past editions. I’ve learned a great deal from them and continue to learn from the many talented individuals I’ve had the privilege to work with–the behind-the-scenes heroes who know how to make the magic happen while sticking to a budget and schedule, keeping the cast and crew happy (and moving), helping to achieve the director’s vision and creatively overcoming countless daily challenges.

I collect new information and memorable experiences from every job and project I work on–both for the book and (when I teach) for the benefit of my students, who are the ones who never fail to remind me of why I love being in this business.

My goal is to make your job easier by compiling material on a great many aspects of production, providing useful checklists, an array of forms and loads of practical advice that will help you make your film. I want to guide you through the process, so you’ll want to do again and then again after that–whether it’s a 10-minute short or a big studio feature.

The Complete Film Production Handbook has become an industry standard, and I can’t tell you how gratifying it is to see it in production offices and on sets–to know that it’s helping film students and filmmakers all over the country. I’m grateful every time it’s purchased, used and recommended, but would especially like to thank those who have been buying the book since its first edition.

-Eve Honthaner

List Price: $ 59.95

Price: $ 24.40

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